A. Georgaki and G. Kouroupetroglou (Eds.), Proceedings ICMC|SMC|2014, 14-20 September 2014, Athens, Greece EROTICISM AND TIME IN COMPUTER MUSIC: JULIANA HODKINSON AND NIELS RØNSHOLDT’S FISH & FOWL Danielle Sofer Kunstuniversität Graz (KUG) Palais Meran Leonhardstraße 15 A-8010 Graz Austria tel. +43/(0)316/389-3294
[email protected] ABSTRACT music, are not new and continue to require attention, what is new in the twentieth century are attempts to Music analysts often default to alternate forms of record the body in order to capture the aural qualities of visualization when dealing with electroacoustic music erotic pleasure and to include these sounds through for which no score exists, thus sound becomes situated technological means in a musical setting. Technologies within the limitations of a visual system. In this paper I of the recorded body innovatively present the audience show that visual models do not always convey the with a sexual encounter through sounds of the (human) varied possible hearings of multiple listeners, body as experienced in “real time.” But our hearing of particularly in music with an erotic tinge. Coupled with recorded or synthesized sound depends in part on our clicking heels and a cracking whip, Fish & Fowl (2011) suspension of disbelief as listeners, since, after all, we by Juliana Hodkinson and Niels Rønsholdt is an are provided with no visual “evidence” of the body electroacoustic work rife for suggestive inferences. The from which these sounds emanate. Whereas allusions in sexualized breathing of the female “protagonist” in Fish instrumental works might arise through metaphor— & Fowl is an allusion to a territory typically, if tacitly, though completely real in the sense that we hear such forbidden as an expression of sonic “art,” but it is expressions as erogenous—in computer music precisely in this transgression to normative hearing that composers can make overt use of the timbres of sex and Fish & Fowl is potentially interesting for analysis.